#magyar traditional clothes

[un-ionizetheradlab]

@nuklearis-sutotok @zsanett-suta

Hatsune Miku in my Culture (in hungarian folktales style)

And Hatsune Miku in My culture (pesti altercsaj)

[trixibebe]

oc stuff - Kori in traditional clothes :3

I mentioned offhandedly that she comes from Kalocsa, South Hungary. Very known for their flower motif, both as embroidery and on porcelain (hence her tacky mug hehe).

[aroundtheworldinstamps]

Hungarian stamp depicting Japanese and Hungarian girls in their respective traditional dress

[songs-of-the-east]

Woman dressed in Hungarian folk costume of Torockó region in Transylvania, Romania

[un-ionizetheradlab]

@nuklearis-sutotok

RAAAAAAH MAGYAR MIKU !!!

[atundratoadstool]

Hi! You mentioned that Leslie Klinger has a lot of inaccuracies in his annotated Dracula; I participated in the Rosenbach's "Sundays with Dracula" program (on their youtube if you're interested) and a lot of us used his book (and he was even a guest lecturer). Can you point me to some places where I can learn more about the inaccuracies, or get more accurate/balanced info? Thanks!!

Some part of the problem with using Klinger's text is just trying to navigate his "gentle fiction" that the events of the novel all reflect things that really happened. It results in a lot of nitpicks on his part that serve no interpretive function other than taking what feel like cheap potshots at the characters, and I think in those sorts of quibbles he lifts some of the biases from Clive Leatherdale where he builds upon his work (and Leatherdale is--in my humble opinion--grossly sexist and victim blamey). Beyond that, something that really struck me when reading his annotations (and I have a lot of exasperated marginalia in my copy of Klinger's text) is how frequently he seems to rely on either Stoker's 19th century research sources or on the work of other non-Eastern-European Dracula scholars when trying to paint a picture of Transylvania. He largely knows his stuff as far as the Stoker's source texts go, but Stoker's source texts are incredibly outdated and racist, and a lot of his notes don't really try to reach past them.

To offer one example from a place in the text Dracula Daily readers have already passed, Klinger asserts that the innkeepers at the Golden Krone are probably Hungarian and Roman Catholic on account of their slight knowledge of German and their gift of a crucifix (pg. 25, note 51). However, in making this assertion, he doesn't acknowledge that the woman is wearing traditional Romanian clothing or that forced Magyarization policies in the nineteenth-century would have led to numerous Romanians being forcibly converted to Catholicism from Eastern Orthodoxy. He also fails to mention that the folk beliefs they are mentioning are attributed to Romanians by one of Stoker's sources (Emily Gerrard) and that one of Stoker's other sources (Nina Mazuchelli) notes that all innkeepers in the Carpathians speak a smattering of German. As his "gentle fiction" makes it impossible for him to acknowledge that these people are fictional constructs and not real flesh and blood human beings, he isn't able to present them as being contradictory and not entirely well thought out composites resulting from Stoker's flawed research. However, his attempts to paint them as real nineteenth-century Transylvanians living their nineteenth century lives also falls short because he doesn't quite seem able to picture Catholic Romanians who speak a little German as individuals who might have existed in Bistritz at the time.

Honestly Klinger is a great resource in a lot of ways, and I am always going to be grateful for his work in getting the reading public access to manuscript content (and in fighting the good fight as regards copyright battles re: Sherlock Holmes). I'd advise people using his New Annotated Dracula, however, to be very cautious in using his work insofar as it addresses Transylvania and to take a lot of his commentary on the characters' failings with a large grain of salt.

[fashionbooksmilano]

Magyar Népviseletek

Flórián Mária / Illusztrálta Urai Erika

Móra, 1993, 60 pages, 29 color illustrations, ISBN 978-9631179804

euro 35,00

email if you want to buy :booksinprogressmilano@yahoo.it

Hungarian language book about famous traditional Hungarian clothing

This booklet shows the Hungarian villages and market towns inhabitants wear in the last hundred and fifty years was cut. At this time, they still wore the old, simple, durable dressings that distinguished the "unhealthy" peasant population of society in the former self-fabrics centuries. However, in the past one and a half centuries, there were great changes in village dressing. The XVIII-XIX. From the turn of the 20th century, the colorful factory fabrics, tissues, and the well-known, colorful, ornate celebrating dresses were formed. The liberated peasantry, especially at first, received a number of elements of previous noble clothing, but some features of civil ferves also affected him. Later, the wear was built in many ways to multiply the dressings and accumulated decorations. The festive clothing that was "peasant" was formed by the former public opinion. Dressing up a village involving gently developed signs and differences with gender, age, marital status, ranking differences.

07/04/21

orders to:     booksinprogressmilano@yahoo.it

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[ilona-burke]

Is that ILONA BURKE stepping out into Diagon Alley? Ministry records tell us that they were born on NOVEMBER 5TH and are a THIRTY-ONE year old, PUREBLOOD who works as the CO-OWNER OF BORGIN & BURKES. Some have said that they can be described as being OBSERVANT, LOYAL & RELIABLE, however, they also see themselves as being UN-TRUSTING, VIOLENT & UNTABLE. Apparently, SHE looks a lot like EVA GREEN, whoever that is, and if they had to pick a side in the war, they would choose to JOIN THE DEATH EATERS.

Full Name: Ilona Catelina Avery Burke Name Origin: Ilona is a Magyar (Hungarian) female given name, the traditional name of the Queen of the Faeries in Magyar folklore. Of Hungarian origin, Ilona is said to mean Sun Ray, Shining Light, and/or The Bright One. A common myth is that Ilona is cognate with the Greek given name Helen, meaning that it also carries the connotation of Beautiful because of the beauty of Helen of Troy. Catelina is of Greek origin and means Pure. Nicknames: 'Lo, however there are very few people who are allowed to use nicknames. Age: Thirty-One Birthday: 5th November, Scorpio Sexuality: Heterosexual Relationship Status: Married, though it’s not common knowledge Patronus: One upon a time it would have taken the form of a Hawk, but Ilona can no longer produce a corporeal or non-corporeal Patronus Boggart: Ilona’s Boggart comes in the forms of failure and of death, depending on the situation. Seeing her mother and father returned to her as Inferi would be the most common. Wand Type: 11", Hazel Wood, with a Veela Hair core. Occupation: Co-Owner of Borgin & Burkes Affiliation: The Death Eaters - Marked Key Information: Please see below the cut

𝘼𝙎𝙎𝙊𝘾𝙄𝘼𝙏𝙄𝙊𝙉𝙎 / 𝘼𝙀𝙎𝙏𝙃𝙀𝙏𝙄𝘾𝙎 ;;  blood red lipstick and painted black nails, dark clothing and an even darker mind, ��perhaps it has always been there, this thing, this demon inside me’, holding hands with the person you’re handcuffed to, royal blue and silver, heels that make you walk proudly, bruised knuckles and blood stained clothing. mirrors long covered up with white dustsheets, ‘you and me and the devil makes three’.

𝙒𝘼𝙉𝙏𝙀𝘿 𝘾𝙊𝙉𝙉𝙀𝘾𝙏𝙄𝙊𝙉𝙎 ;;  can be found by clicking here

𝙋𝙄𝙉𝙏𝙀𝙍𝙀𝙎𝙏 𝘽𝙊𝘼𝙍𝘿 ;;   can be found by clicking here

𝙇𝙄𝙆𝙀𝙎 ;; The sound of heavy rain hitting the windows, thunderstorms, going for walks in the dead of the night, when plans come together perfectly, ancient tombs and artefacts, saying things with the sole purpose of scaring people.

𝘿𝙄𝙎𝙇𝙄𝙆𝙀𝙎 ;;   Mirrors, confined spaces, hospitals, parties being thrown for her, any kind of function even though she still chooses to attend them, people standing right behind her.

𝙎𝘾𝘼𝙍𝙎 / 𝘿𝙄𝙎𝙏𝙄𝙉𝙂𝙐𝙄𝙎𝙄𝙉𝙂 𝙁𝙀𝘼𝙏𝙐𝙍𝙀𝙎 ;;   Ilona has a plethora of scars across her body, with the most prominent being the large one that covers her left shoulder and down her back to the bottom of her shoulder blade. Al of her scars, however, are always hidden with concealment charms. Distinguishing features include the Dark Mark, which she obviously keeps hidden at all times.

𝙁𝘼𝙈𝙄𝙇𝙔 𝘼𝙉𝘿 𝙐𝙋𝘽𝙍𝙄𝙉𝙂𝙄𝙉𝙂 ;;  The youngest child, Ilona is the only daughter of the late Edmund and Irina Burke. Along with her brother Velkan, there was never any competition for their parents affections while growing up. Each sibling had their own merits, and unlike many other Pureblood families with multiple children, they were loved equally by both their mother and their father. Being a family of the Sacred Twenty Eight, the Burke’s insured that their children grew up knowing exactly what it meant to be true Purebloods, and so it is no surprise that Ilona shares many of the views of the other notable families.

Happy families do not always remain that way, however. By the time that Ilona was eighteen years old, both her mother and father were deceased and the girl’s entire life had been turned upside down. Gripped by grief, she became unstable, and for her own safety she landed herself a room in St Mungo’s for sometime before she was released in to the care of an old family friend, Henry Dashwood, who has long since become not only her guardian, but one of the few people that she can trust the most.

Despite it being widely believed that she is just as ‘insane as her mother was’, Ilona has just been left with a lot of unresolved issues after the death of her parents. Most of the time she can internalize it, but sometimes it just isn’t that easy.

𝘼𝙏𝙏𝙀𝙉𝘿𝙄𝙉𝙂 𝙃𝙊𝙂𝙒𝘼𝙍𝙏𝙎 ;;   Although both the Burke siblings were sorted in to Ravenclaw house, Ilona has always felt that perhaps she would have been better suited in Slytherin. She is cunning and has learned exactly how to get what she wants, whether it means doing it herself or by getting someone else to do it for her. Ilona didn’t particularly enjoy her time at Hogwarts, given the death of her father when she was in her third year, but she was still able to leave with top marks in most of her exams.

𝘾𝘼𝙍𝙀𝙀𝙍 ;;   Even from a young age, there was no doubt that Ilona was going to be the one to get the keys to Borgin & Burkes when the time came. Growing up, she spent many hours under the watchful eyes of her father, reading and studying the various ancient items that were passed over the counter. While her brother would occasionally help out from time to time, Ilona thrived, so when she was well enough to do so, she took the helm for her families half of the business.

𝘼𝙁𝙁𝙄𝙇𝙄𝘼𝙏𝙄𝙊𝙉 𝙄𝙉 𝙏𝙃𝙀 𝙒𝘼𝙍 ;;  The loss of her parents unlocked a deep anger within Ilona, and for a long time she wanted nothing but revenge. It was around this time that Lord Voldemort had caught wind of her potential, and it wasn’t long before he was able to recruit her in to the ranks of the Death Eaters, convincing her that he could offer her a way to channel her rage that would help not only her, but a cause much bigger than she was alone.

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Nedz» Godzilla Kong ellen / After We Fell Teljes Film Magyarul (2021)

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► Kattintson ide → https://t.co/uX4kQCHv64?amp=1

Mind tudtuk, hogy egyszer megtörténik. Világunk szörnyei nem kerülhetik el egymást. A legnagyobbaknak előbb-utóbb szembe kell találkozniuk, hogy összemérjék az erejüket. De ahol King Kong és Godzilla csatázik, ott senki más nincs biztonságban.

felszabadított: 2021-03-24 Runtime: 113 percek Műfaj: Akció, Sci-Fi Csillag: Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri Rendező: Terry Rossio, Eric McLeod, Ronald R. Reiss, Sarah Halley Finn, Owen Paterson

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In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, who later would be known as Hannah Hoch was born. Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross. The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets. Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and The Owners freedoms. Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee. The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue. An apt description of the piece is The Owners in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes. In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife. The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history). Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions. Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income. In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney). Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable. Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural epoch of Germany’ (1919–1920). This piece of art highlights social confusion during the era of Weimar Republic, oppositionists and government radicals (Grabner). In spite of never being truly accepted by the rest of her society, this woman with a quiet voice managed to speak out loud her feministic message. Looking at Hannah Hoch’s art for the first time I found it confusing, because couldn’t comprehend the meaning. It was quite obvious that every single piece and structure is a symbol of the era, its ideas and beliefs. However, after having learned about her life and constant endeavors to declare about female’s right, little by little I started to realize what’s what. As an object for research I chose ‘The beautiful girl’ as, to my mind, its theme and message intersects with the modern tendency: a successful, clever, beautiful and free woman has to become one in no time, cause the world is moving faster and faster. I enjoyed working with this artist as her example is inspiring and is worth following.

[miutan-elbuktunk-teljes-film-hd]

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Nedz» Miután elbuktunk / After We Fell Teljes Film Magyarul (2021)

► Mopiefilm → https://t.co/ztNlBbaHhE?amp=1

► Kattintson ide → https://t.co/ztNlBbaHhE?amp=1

felszabadított: 2021-08-05 Runtime: 0 percek Műfaj: Romantikus Csillag: Josephine Langford, Hero Fiennes Tiffin, Chance Perdomo, Carter Jenkins, Kiana Madeira Rendező: Castille Landon, Sharon Soboil, Anna Todd

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In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, who later would be known as Hannah Hoch was born. Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross. The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets. Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and The Owners freedoms. Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee. The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue. An apt description of the piece is The Owners in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes. In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife. The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history). Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions. Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income. In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney). Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable. Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural epoch of Germany’ (1919–1920). This piece of art highlights social confusion during the era of Weimar Republic, oppositionists and government radicals (Grabner). In spite of never being truly accepted by the rest of her society, this woman with a quiet voice managed to speak out loud her feministic message. Looking at Hannah Hoch’s art for the first time I found it confusing, because couldn’t comprehend the meaning. It was quite obvious that every single piece and structure is a symbol of the era, its ideas and beliefs. However, after having learned about her life and constant endeavors to declare about female’s right, little by little I started to realize what’s what. As an object for research I chose ‘The beautiful girl’ as, to my mind, its theme and message intersects with the modern tendency: a successful, clever, beautiful and free woman has to become one in no time, cause the world is moving faster and faster. I enjoyed working with this artist as her example is inspiring and is worth following.

[thehollowgateway]

As nobles among the #Magyars (the main Hungarian ethnic group), Klinger's family was killed by angry Hungarian minority protesters. Klinger hid his name and family characteristics (white hair and red pupils), and fled far west with his unskilled German.

When the politics of the ‘Danube Confederation’(alternative history of Austrian-Hungarian Empire) gradually stabilized, the homicides of the Fehér family were brought to trial. Klinger, who had been on the run for a long time, could not even afford a decent suit to attend the trial.

The accompanying Professor Matthew Romano lent Klinger a set of his clothes. Klinger used his remaining savings to cut his hair short.

Matthew asked Klinger how he felt about the grievances. Klinger said: "Nem jó, az ltny nem fehér." (No, suits are not white.) (fehér, Klinger’s family name, meaning white in #Hungarian) In fact, Klinger's answer was a pun, meaning that the clothes were not white and could not represent his family's tradition; it also meant that he could not even wear his own clothes to witness the murderer's trial ——he had almost nothing left.

‘I love black suits SO F MUCH that I want to see all of my OCs wearing them’ Part 3

[becdecorbin]

oh heck I finally got around watching this short animation and I’m glad I did, even if I don’t understand a word and I could get a rough idea of the story from a google translation of the folk tale.

Magyar népmesék: Holló Jankó, directed by Marcell Jankovics, who also directed Fehérlófia, I just love the stylish presentation and the character designs so much, I should watch more videos in this series based off Hungarian folk tales (by various directors! lots of neat art styles present, wow. some of them even have English subtitles!)

also gosh the protagonist is pretty androgynous. (-- oh yeah and to add, at least until I watched the short in full I was a bit confused about Janko’s gender since I don’t understand any Hungarian, but seeing some context + looking up traditional Hungarian clothing, like the pants that resemble a long pleated skirt are called “gatya”, which is neat. but yeah, his rounded face and lips honestly made me think he looks feminine, his clothing, less so.)

also I like the design of the king. he’s a jerk.

INCIDENTALLY, adding the dubbed version of the video to this post so it’s easier to find:

EDIT:

hey there’s a decent quality video of another dub on youtube, too! be sure to subscribe to the channel.

https://www.youtube.com/watch?v=Y8_uAnD3m6Q

I can’t embed the video but yeah! there's the link.

[swordofthewargod]

"And he was clothed with a vesture dipped in blood: and his name is called The Word of God. And the armies which were in heaven followed him upon white horses, clothed in fine linen, white and clean. And out of his mouth goeth a sharp #sword, that with it he should smite the nations: and he shall rule them with a rod of iron: and he treadeth the winepress of the fierceness and wrath of Almighty God. And he hath on his vesture and on his thigh a name written, KING OF KINGS, AND LORD OF LORDS." ~ Revelations 19:11-16 . In the Magyar archaic traditions Jesus Christ is known as the “Heavenly Táltos” (Égi Táltos). . Moving away from sword stories, I have begun to look at other mythologies that are influencing my book. One of my characters, Tudva, is something in between a shaman and a #witch but greater than both, a #Taltos . The name Táltos may be translated as “widened” or transcendent, having the abilities that are beyond the human world. . The #Táltos' character and traits are fused with the astrology of Sagittarius. In astrology #Sagittarius is also know or is represented as a #whitehorse a symbol of purity and of spirituality. The ruling planet of Sagittarius is #Jupiter . In #Greekmythology jupiter is #Zeus, King of Kings, Lord of Lords. In the Hindu (Bharat) culture Jupiter is regarded as Lord #Guru, the great teacher. . white horse worship can be seen all over the world. In #Magyar folklore, there is another character with supernatural powers: the #Garaboncias, often seen riding dragons or clouds. A figure I will describe tomorrow. . A baby born with teeth or an extra finger in ancient hungarian tradition may have been seen as a taltos, born with insight, being able to speak to the dead, commune with the gods and able to find missing people or essential herbs for medicine. . A taltos cannot be killed, their spirit forever reincarnating, in mythology, they often own a white horse (#pegasus) that travels as fast as thought. This 'vehicle' is, I believe a metaphor for their abilty to travel between worlds. . Pic: Feszty Árpád - Arrival of the Hungarians (detail, 1892–1894) . #SWORDOFTHEWARGOD #writer #historicalfictionnovel https://www.instagram.com/p/COAWuriHZFH/?igshid=v14udvopz4n8

[ivemetyouathousandways]

Frokost på Sven's (Breakfast at Sven’s)

It’s kind of funny how, since the individualization of mankind, we have grown to attach such importance to names to find security in a somewhat clear cut identification. And it’s kind of funny how, I didn’t yet care to know this stranger’s personal identifier, considering that he had paid for my breakfast yesterday, followed by a bear and a coffee. It had somehow not occurred to us, during the span of our time spent together, to exchange the frivolous triviality of names and the likes of such meaningless details. 

And here we were, the next morning, walking down Østerøya,  the village’s main road, to get to his humble place located past the edges of Kvennesviga, which name I wouldn’t even attempt at pronouncing. He had casually slipped an arm around my shoulders and it took me a moment to realize that I appreciated the gesture, fascinated by how comfortable I was with it, normally having had slipped out of such contact or having voiced my discomfort. 

I loved every aspect of the early signs of life animating the place, light washing the quiet streets in a pale golden light, with actual dew on the the grass and plants, two tourists already on their bikes headed out to explore the neighboring landscapes - I imagined - the constant murmur of the North Sea whispering it’s seductive tales carried by the early morning wind. I almost stopped mid step when it hit me that this was just perhaps the Norwegian equivalent of a French Breton place I had fallen in love with called La Hague, magnificently portrayed by Claudie Galley in her book The Breakers. I smiled and bemused to myself; what would be the odds that this stranger was a sculptor too ? And then I remembered his attire of yesterday; a light ashen grey tweed suit jacket over white shirt, complemented by a dark tie with silver accents... fairly early in the day. Perhaps a journalist?

“Watch your step.”

His voice came about at the same time as my foot bumped into the small concrete step at the foot of our destination. 

“Are you okay?” He asked with an amused smile on his lips.

I nodded. Totally fine! Love losing my face in front of strangers I otherwise wouldn’t mind impressing. 

And then I had to refrain myself from not fangirling over the inside of his house - being absolutely authentic vintage European, or in this case, Norwegian; wide open spaces, flooded in the early sunlight, bathing the rich golden caramels and chocolate browns of the woods of the flooring, the table,chairs and counters. Somewhere in the forefront of my mind, I was literally an animated character with heart shaped eyes squealing, shaking my head, overly excited at the exquisite charm of the place. 

“Take a seat - make yourself comfortable.” He said dropping his keys in a dish on an accent table near the door. 

I realized I was standing there frozen in time and space and I suddenly appreciated the soft squeezing weight of his hands on my shoulders nudging me forward in. Midway in, though, he gave a final gentle friendly tap and preceded me to open the fridge and cupboards to set the table. I shyly walked around, looking at the various small decorative items, all more or less sea related; light house sculptures, boat miniatures - those rather expensive and detailed one, hand assembled, probably based off real life ones which had sailed the seven seas at some point in History, complete with real ropes, real linen and real wood or metal bits. And then - there was that one framed photo. I instantly recognized him. His hair was the same, his glasses - the only difference was his smile. He was smiling, a genuine happy smile. There was a rather handsome blond young man next to him, holding a small cherub like toddler, and a beautiful blond woman hugging the young man from behind. 

“This is your son?”

He turned around and an unbearable sadness washed over his face, making me instantly regret my absolute lack of self control and curiosity. I could see his hard gulp, swallowing down his sadness as he walked over to join me. 

“That’s Erik, my nephew.” He said, his warm breath behind my ear. “Also - my apprentice.”

Silence dropped on us like a bomb and I could literally hear my heart thumping and his sadness fill the kitchen. 

“The girl is Hanna and the baby is Jakob.” 

I swallowed dry saliva. I’m so sorry!

“One night he didn’t go home. Instead, he went to the rocks where I found you this morning. He had brought a rich variety of pills, later identified as black market drugs, and a bottle of akvavit.”

His voice was the shadow of a whisper. 

“He was found the next morning by a couple of tourists who wanted instagram photos of the sunrise.”

I could just about hear the sour sorrow in his voice. 

“Is that why you ... you often go there?” I asked trying to hide my own shock.

“Every morning since his death.”

He took a deep breath, a sigh, letting go of the past and I felt his hands on my shoulders again, a gentle pressing squeeze, motioning me to turn around and head to the main area of the kitchen. 

By the time I thought of offering help, I noticed that the table was set for two, with a choice of cold meats, cheese, bread, sliced tomatoes, and grapes. I pouted and slapped myself in the back of my mind. Way to go, Illy! First, sting the man’s memory with an insensitive question, and then just be a typical tourist, not a helping guest. He, on the other hand, kept being an impeccable gentleman, placing slices of sausage, brad and cheese in my plate.

“Mmm - this sausage is to diiiie for!”

He smiled amused and cut a few more slices which quickly ended on my plate.

“I’m sorry for my assumption a moment ago.”

“You couldn’t have known.” He smiled gently and took a piece of cheese. “His father was my younger brother. He was a proud fisherman who wanted to follow the traditional ways of our father and grandfather. Kristian got caught in a real bad storm one trip out - and he didn’t came back. Erik was intensely and very deeply affected by his death. He loved the ocean, he loved and held a great deal of respect for our father. He couldn’t understand how the ocean he has learned to love and revere has had the cruelty of taking the most important figure in his life. He had just met Hanna and it had been a strain on their relationship, but they grew stronger together. And then baby Jacob came along and I thought everything was alright. We were working on a homage piece, to be put on the family tomb.”

He looked at his plate and I could just about understand his sudden lack of appetite.

“I should have asked him to leave the project, to let me finish it alone. I didn’t see his pain, his suffering. He had insisted so passionately. I was the only family remaining, he refused to let me carry all the burden.”

I wanted to lay my hand on his but he was keeping them both to himself and I felt I would have overstayed my welcome had I reached out that extensively. Or perhaps I simply saw the clutter of breakfast as a polite barrier he had set up to keep a certain frame of intimacy. 

“I know your lineage back to your grandfather but I still don’t know your name.” I chimed in to try to lighten up the mood a notch.

He chuckled. 

“Markus.” He smiled as he extended his hand for me to take and shake. “Markus Sven Iskaar.”

Markus Sven Iskaar. MSI. Like my favorite computer brand! I refrained from voicing that odd finding though. 

“Illy Szofiana Máté.” 

MSI in the reverse. I smiled to myself. I was actually pretty proud of this nifty little coincidence and perhaps it quite heavily biased me in my overall preference of the Chinese electronics producer. 

“Pleased to make your acquaintance, Miss Illy.” He half got up to be more comfortable in kissing the hand he was still holding in his. “I believe you Magyar folks still somewhat abide by this tradition?”

“I guess the older generation - yes. Most people just use the vocal version of it - as a common greeting.”

“And how would that sound like ?” He sat back down and laid a piece of sausage on a slice of bread.

“Kezét csókolom.”

"Velsigne deg!”

I giggled at his joke. I liked seeing him happy and smiling. How odd - a man I knew for less than twenty four full hours and I already cared and wanted to see him solely happy and smiling. 

“You quite surprised me with your cards yesterday.” He commented, finishing off a few grapes. 

I smiled triumphantly, my mind caressing the deck in my purse. 

“Can I at least help with the dishes?” I pleaded as he collected our empty plates.

“Slå deg løs!” He cheered, handing me over the plates and utensils.

I gave myself a mental memo to ask him later what that meant. 

Sven crossed his arms on his chest, shoulder against the refrigerator and stood there watching me wash his dishes as if it was the most entertaining thing he had witnessed in an appreciable while - which made me unreasonably blush. It was odd, being scrutinized by this - wait - let me rephrase that more appropriately; that moment of my life where I washed a Norwegian man’s dishes after breakfast in his kitchen. Talk about living life!

I dried my hands on the cloth hanging under the sink and asked, wondering if I sounded more like a housewife or a sports rookie addressing his coach.

“So - what’s next?”

“Well, we could settle down in the living room and talk.” He offered casually. “You like tea?”

“Green or chaï, if you have...” I sort of asked.

Anything but fruity lies which are sour flavorless disappointments without three spoonfuls of sugar. Also, not a huge fan of Orange Pekoe, not that I want to be a fine mouth but - and please for the love of... whatever or whoever applies - no Earl Grey. I will straight up punch you in the face if you offer that drinkable hot liquid aftershave. I rambled silently at the speed of light. Sven opened a cabinet and presented me a box of Twinning’s Green Tea. 

“Sold!”

“Make yourself comfortable. I’ll put the water on.”

(1) Kezét csókolom = I kiss your hand (formal, courteous greeting)

(2) Velsigne deg! = Bless you (after someone would have sneezed)

(3) slå deg løs = Knock yourself out

[aerwoun-blog]

Seeing the world in “black & white”

It seems to be a misconception only held by american folks ;

No, the world is not only divided in two categories of people. There’s no such things as “Blacks vs Whites” or “PoC vs Whites”.

When subjects like racism or “white supremacy” are discussed, many persons (on each side of the political spectrum) appears to ignore that whites can not be considered as one homogenous group; 

The kabyl...

... the scottish...

... the russian...

... the serbian...

... only have one thing in common; the color of their skin. However, they are very different in behaviour, way of life, customs, etc...  Of course, I’ve just showed typical traditional clothing, and you are not going to find many scottish wandering arround wearing their kilt.�� But their outfits hightlights how much all these people are different, having different religions, languages, and historical background... and heck, every white person doesn’t even live in Europe or in north America (the Kabyles are from a mountainous area in Algeria). 

So please, don’t forget that when you want to discuss seriously about these issues; I think the magyar sheppard living in Transylvania has little to do with slavery in the US. 

[kamillapeter96]

This essay will examine and discuss how Hungarian Folk Dance reflects or challenges certain cultural values and beliefs.

Hungarian Folk Dance is danced by women and men from Hungary, which is a country in the centre of Europe (Wingrave, 1984). The Hungarian ancestors, the Magyars came from the east (Mongolia) therefore were a non-European race. Before they began to live a settled life in the Carpathian basin they were nomads which has had influenced their subsequent culture. That is why they were ethnically and linguistically distinct and their traditions, especially dance would always retain something of their ancient origins, hence to compare its history with its neighbours it is very different. The name Magyar refers to dance and music as well (Allenby-Jaffé, 2006). There are several types of folk dance in Hungary. This essay will examine and discuss how Hungarian Folk Dance mirrors or defies certain cultural ideals.

Some of the Hungarian Folk Dances reflect perfectly certain cultural values. Hungary was always extravagant among its neighbours perhaps because of its roots that their progenitors came all the way from Asia in the 9th century (Vékony, 2005).

Hungarians, who have kept their music and dance – with its very individualistic quality – intact in spite of the influence of invading forces of the Tartars, Turks and Austrians. Traditional folk-dance is therefore much more of a regional nature than a political interpretation.

(Wingrave, 1984, p. 107)

At first it is needed to state that although there are several types of dance within Hungarian Folk Dance they all have same characteristics. They are almost always improvised and have variations in specific regions. Every type has a precise music. Most important of all they all are important elements of community life (Czompo, 2006).

In the history Hungary was in occupation and war most of the time (Wingrave, 1984) which characterised some of its dances. Such as the hajdútánc (dance of the Haiduk), which was a battle dance with swords and axes (Horvath, 1977). Danced by men at victory feasts and wakes, and at jollifications at court (Magyar, 1979). It was the most popular dance in the 16th and 17th centuries. An English traveller, Edward Brown describes: “clashing the same, turning, winding, elevating, and depressing their bodies with strong and active motions and singing at the same time” (Allenby-Jaffé, 2006). These movements describe most of Hungarian Folk dances. Either women or men sing/shout during performance according to the website, GoUnesco (2016). The movements of the hajdútánc described that “this must have been a true sword dance of ancient origin” (Allenby-Jaffé, 2006). Ancient times, when they served as parts of some rituals as martial dances (GoUnesco.com, 2016).

The nowadays form of this hajdútánc is the botoló (Stick Dance) which is danced with sticks (Magyar, 1979). This dance type is danced by both genders but it signifies the man’s power over the women. It is danced with decorated (colourful Hungarian motifs) sticks at weddings (Allenby-Jaffé, 2006). However other studies suggest that botoló has another origin. The reason of this might be that its routes are not really clear from centuries ago. It can be traced back to the Magyar pásztorok (herdsmen). Up to the mid-19th century nomadic stock raising was popular in Hungary. Herdsmen lived outside in every weather condition. They needed to protect their herds against wolves and thieves. That is why they handled various tools (axes, ropes and sticks) very well and they used these skills during dances. Despite the purpose (attacking, defending) of these abilities the dance also had humorous elements as well (Horvath, 1977).

It is worth to mention one of the women dance the karikázó (Circle Dance) (Wingrave, 1984). At first it is needed to explain why there are more men dances than women ones. As the norm dictated:

While women lived a rather secluded life and only within their family, the men had more opportunity for entertainment. In certain occupations it was also the custom to display strength and skill by dancing, and therefore the movements and expressions of the male dances are extremely rich.

(Horvath, 1977)

In another perspective karikázó can be rich. Not because of the dance itself but because of the amount of dancers, clothes and singing. During karikázó they wear beautiful pleated skirts to attract men. Women sing vividly with a beat of their feet in a circle (Wingrave, 1984). It is from the Middle Ages and these are the most archaic forms of folkdances found in Hungary, according to Andor Czompo. Today they dance it at festive occasions, when the musicians resting because it is mentioned this dance type does not demand instrumental music along with it (Magyar, 1979).

On the other hand, csárdás has become the national dance of Hungary. According to Kálmán Magyar csárdás is from the Renaissance (Magyar, 1979). As the well-known Hungarian Folk Dance anthropologist said: “Most folk dances of east European peoples date back to the Renaissance when free turning couples were widely popular” (Felföldi, 1999). Hungarian dance can be divided into two major categories: dances from the Middle Ages and dances developed in the 18th and 19th centuries (Martin, 1974). In this case it can be stated that csárdás is an old dance with relatively new elements from the 18th century. Csárdás means “inn dance” which reflects that this dance form was danced in inns by serfs at first (Allenby-Jaffé, 2006, p.143). The development of the csárdás may be tracked back the 18th century. Around this time it was called verbunkos, the folk dance was popular which is the men’s recruiting dance (Tari, 2012). Verbunkos is a solo man’s dance which purpose was to recruit young men into the Austro-Hungarian army (Allenby-Jaffé, 2006). “The joint clapping of hands, the slapping of boots in intricated rhythms” characterised that style (Horvath, 1977). The controversial fact is that the csárdás developed of a dance which was the end product of the Habsburg oppression and yet it represents the nation as a whole without the invaders. As Michael J. Horvath states about the csárdás:

As a reaction to the Hapsburg oppression, not even the fashionable society dance the waltz met with enthusiastic reception, because it had reached Hungary via Vienna. It provoked an attempt to create a characteristically national society dance.

(Horvath, 1977)

The characteristics of this type of dance is that it starts slowly, then increases in speed and excitement as it progresses (Wingrave, 1984). In the video of the youtube channel, Hungarian and other Traditions (2015) they demonstrate csárdás. It is always danced by couples and sometimes the man has solo parts which typified with clapping and other beats generated with the use of body. In this dance, it is clear that men and women have their own movement culture which is very different from each other. In my experience it is well defined that this both cannot be blended. As a Hungarian it was part of my childhood to participate in some táncház, which events gather all kind of people to celebrate Hungarian dance culture with live music (Taylor, 2008). Because of the richness and colourfulness of the male side of dance I wanted to take part as a man which is more difficult to learn. It turned out there is no possibility to do that because it is not allowed. So the two genders have their own movements and they are not interchangeable.

To summarise all, Hungarian Folk Dances reflect the Magyars history and therefore their cultural values. It represents how their ancestors lived, the relationship between men and women and the social roles which are very clearly separated. It can be seen how men had more opportunity to get the joy of dance in the history since they were free of housework and they could control their own life. Not least it stands out from other European dances despite Hungary was invaded so many times. Perhaps that is the reason why it is unique so it can stands against and be disconnected without any influence. That is why Hungarians are proud of their culture and therefore their dance. Although, the national dance, csárdás was indirectly influenced by Austrians that challenges Hungarian cultural beliefs. In turn other types undoubtedly mirror certain values of Magyar culture.

 Bibliography:

Allenby-Jaffé, M. (2006) National Dance. 1st ed. Malaysia: Alden Press.

Andor Czompo (2006) Introduction to Hungarian Dances. [ONLINE] Available at: http://hungaria.org/hal/folklor/index.php?halid=3&menuid=55. [Accessed 19 March 2017].

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Hungarian and other Traditions (2015) György és Andrea - Matyó csárdás és friss. [Online Video]. 20 January 2015. Available from: https://www.youtube.com/watch?v=dF-x3ASonHw. [Accessed: 19 March 2017].

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Tari, L. (2012) ‘The Verbunkos, A Music Genre and Musical Symbol of Hungary’. Bulletin of the Transilvania University of Brasov, 5, 81-86.

Taylor, M. N. (2008) The politics of culture: Folk critique and transformation of the state in Hungary. 6. New York: City University of New York.

Vékony, G. (2016) Magyar őstörténet - Magyar honfoglalás. 1st ed. Hungary: Nap Kiadó Kft.. Translated by K. Péter for the essay